REVIEW: Ungraven & Slomatics, "Split"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 05/03/2021
Label: Black Bow Records

 
Split DD//LP track listing:
 
1). Ungraven, “Defeat The Object”
2). Ungraven, “Onwards She Rides to a Certain Death”
3). Ungraven, “Blackened Gates of Eternity”
4). Slomatics, “Kaan”
5). Slomatics, “Proto Hag”
6). Slomatics, “Monitors”
 
The Review:
 
So, half an hour of the heaviest sounds and tones known on the planet... Ungraven is Jon Davis' (Conan) side project, Slomatics are Northern Ireland's heaviest export.
 
Ungraven is not a million miles away from Conan, of course, but is less about atmosphere and slothfulness (or High On Fire bits) and more about beating the listener down with unbearable weight.
 
Over the course of the three tracks, Ungraven sound superb- heavy, crisp, weighty... I assume a Foal Studios recording with the inimitable Chris Fielding at the helm. Simply put, if you like Conan, you'll like this. If you like Fudge Tunnel, you will like this. If you like.... well, you get the idea.
 
Slomatics are all about heaping impossible weight onto the listener, in fact the material here is so heavy you'll need to Eat Clen and Tren Hard to withstand it. It is certainly downcast and moody- atmospheric in its blackness with impossibly low tuning. If you haven't ever heard them (is that possible?) think Electric Wizard crossed with Conan and you are in the right ballpark, but Slomatics have a sound and style all their own.
 
Over the course of six tracks, each band gets a roughly equal playing time and three tracks of each is enough to get a flavour of both, to decide if you to explore further.  Of course, where this is all building to, is to say that it is great – if you like any of the comparison bands mentioned here, this is a must.  Heavy, dark and pleasingly relentless.
 
You can purchase the Split HERE
 

Band info: Slomatics || Ungraven

REVIEW: Mammoth Weed Wizard Bastard & Slomatics, "Totems"

By: Mark Ambrose

Album Type: Split LP
Date Released: 29/03/2018

Label: Black Bow Records

Alter your mind, crank the volume, and worship two of the best of doom metal shaman delivering one of  the stand out releases of 2018 .

“Totems” DD//LP track listing

1. Mammoth Weed Wizard Bastard – “The Master and His Emissary”

2. Mammoth Weed Wizard Bastard – “Eagduru!

3. Slomatics – “Ancient Architects”

4. Slomatics – “Silver Ships into the Future”

5. Slomatics – “Masters Descent”

The Review:

Last time I threw on a split album it was the fun, fast cross genre thrashing of Iron Reagan and Gatecreeper – one of those brief, appetite whetting samplers that made me want to search out more of the contributing bands’ back catalogues.  I really enjoy those kind of horizon broadening splits, but the ones that may stick with me most are the LP length collaborations by artists operating in even closer genre proximity.  Take, for example, “Totems” – a formidable, surprisingly cohesive split from young but powerful Welsh psychedelic doomsters Mammoth Weed Wizard Bastard and the long-running Irish stoner sludge trio of Slomatics.  Both acts take similar spacey, prog indebted approaches to their massive cuts so the LP stands out as a proper, unified album – but you can’t mistake the unique methods and voices on display between the Mammoth crew and Slomatics.

Mammoth Weed Wizard Bastard’s opening cut, “The Master and His Emissary”, may be my favorite track on “Totems”.  Starting with a bass and synth intro, it plunges straight into space rock weirdness.  The ascending, chugging verse riff balances with ethereal, multi tracked vocals – largely those of bassist Jessica Ball.  Her delicate, clean tones, contrasted with the gnarly dual guitar heft of Wez Leon and “Dave” Davies, makes for an exciting, unique counterbalance of grim and graceful.  The unique emphasis on cymbal work, juxtaposed with persistent bass drum pounding from drummer James Carrington, is another standout trademark that had me intrigued by MWWB.  And just when I thought “hmmmm it would be interesting if they incorporated the synth intro back into this piece” the ‘Bastard went and did it!  Plus the closing guitar solo is just thrilling.  Unfortunately, after such an exciting opening, “Eagduru” feels like a bit of a disappointment.  A swaying, much more thudding doom dirge, it isn’t a bad cut by any means, but feels less structurally satisfying and complex than the trippy first track.  Ball’s vocals are again haunting and mystical – I’m impressed enough to want to explore the back catalogue.

Slomatics hardly need an introduction at this point, with nearly 15 years and releases in the double digits (including splits and a live LP).  But for me this is another gateway, as I’ve never taken the full plunge into their formidable back catalogue – another grievous error I plan to address immediately.  The heavy doom verses of “Ancient Architects”, countered by Fabrio Frizzi reminiscent synth laden refrains hit right in my metal/horror/scifi/weirdo nerd sweet spots, and I was hooked.  Drummer Marty’s clean vocals have just the right amount of grit, while his kit work is spot on.  Dual guitarists Chris and David are tone masters, shifting to a militaristic trudge in the pummeling midsection, only to crash everything to a tectonic crawl on the outro.  The fuzzed out phaser effects make the whole ending feel impossibly psychedelic, while retaining the paranoid edge of a bad acid freakout.

“Silver Ships into the Future” is a perfectly serviceable instrumental transition, primarily clean, slightly warped keyboards and some nice, menacing ambient tones.  But “Masters Descent” is a genuine work of stoner metal masters.  The savage riff and gently processed, reverb laden vocals is like a Kubrickian transit through time and space.  Marty’s jazzy fills, partnered with what sounds like Mellotron backing tracks, makes the doomy number sound like a haunting mashup with early King Crimson.  The chiming, synth laden, psych dirge latter half is a particularly nice touch, and the vocal work is particularly moving – trust me when I say that’s a disservice to the ineffable power when everything clicks into place for Slomatics.             

In short, “Totems” serves as one of those effective entreaties to explore more from the contributing bands, but also works as a powerful slab of metal, best enjoyed in one long, bleary eyed session, or staring into space and envisioning the types of otherworldly journeys Mammoth Weed Wizard Bastard and Slomatics delve into with each new composition.  Alter your mind, crank the volume, and worship the “Totems” of these two linked tribes of doom metal shamans.

“Totems” is available here

Band info: Slomatics || Mammoth Weed Wizard Bastard

TRACK PREMIERE & TEST PRESS GIVEAWAY: "Masters Descent" by Slomatics

When you run out of superlatives to introduce a band, sometimes you’ve just gotta cut the shit and let the music speak for itself.  Today that is exactly what I am going to do.  Slomatics are back barely a year after their monumental album “Future Echo Returns” and their finest album to date and what’s more they have exceeded themselves again, with vocalist drummer Marty Harvey putting in his finest vocal performances to date, supported by the sledgehammer riffs of Chris Couzens and David Majury, for me today’s  track premiere is one of their best ever tracks.  So enjoy “Masters Descent”, the final track from their forthcoming split with Mammoth Weed Wizard Bastard, entitled “Totems” which is set for release on 30^th March 2018 via Black Bow Records and is available to purchase here.  Info about the giveaway below.

Now if that track premiere wasn’t exciting enough, we have teamed up with the band to give away a test press of the split.  All you have to do is like the post of this article on our facebook page.  That’s right.  Like the post. The give away will end in 5 days directly after the post and I will select a winner at random and sent them a message notifying them they have won. 

 Band info: Facebook || bandcamp

VIDEO PREMIERE: Slomatics live session launches "The Live Room Belfast"

By: Aaron Pickford

Start Together Studios based in Belfast, N.Ireland celebrated their 10^th anniversary last year.  Since their inception projects and bands they have work with range from Wheatus to Slomatics to The Jim Henson Company to Nomadic Rituals.  With resident engineer Niall Doran recording so much exciting music, he has launched “The Live Room Belfast” with the idea being to film and record live sessions of bands and artists they love at the studio, but focusing the attention on the bands by sharing these live sessions with everyone.  For me what is particularly satisfying is that the debut live session is from none other than Belfast’s mightiest fuzz futurians Slomatics and today we are debuting two of the six recorded tracks here and exclusively for THE SLUDGELORD readers.  Check out the videos for “Electric Breath” and “And Yet It Moves” below.   Guitarist David Majury also had the following to say about the sessions

“Being invited to record a live session at Start Together was a huge honour for us. Not only is it a world class studio right here in Belfast, but it's also a real hub for the shared music scene here. We've recorded there several times and the session was very much like an album session - live and with the amps cranked!”

For more info: theliveroombelfast

ALBUM REVIEW: Poseidon - "Prologue"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 21/07/2017

Label: Ripple Music

The songs of "Prologue" formulate a humid, thick experience that captures delectably the story of a society in crisis. The vignettes shared in lyrics and the abject weight of the music creep slowly, fearsomely to the collapse you know is coming, but simply cannot halt

“Prologue” CD//DD//LP track listing

1. The Beginning; The End, The Colony

2. Mother Mary; Son of Scorn

3. Chainbreaker

4. Omega

The Review:

The number of weather events before us all is a harsh reminder of the fragility of humans. Structures fall, along with hubris. Furious winds tear down what people hold most precious as well as what they believe makes them superior. Crashing seas are an equalizer, wrecking both mansion and shanty. And driving rains slice through all, no matter religion, creed or allegiance. The cold comes for all of us eventually.

Poseidon's debut is a perfect soundtrack to the raging storms across the U.S. Gulf Coast of late. Its domineering swells and exquisite violence are your best representation of a trip through a sonic hurricane.

"Prologue" is the first of a three-release arc by the London, UK based band, formed out of the ashes of prog rockers Light Bearer. The four song, 44-minute launch of its science fiction themed tale is a halcyon start for Poseidon.

Concept albums can be an acquired taste. In this instance, Poseidon's ambitious vision is coming together here as the start of the Mediums Chronicle. The story aims to reflect the world's collapse as well as what a new world in the ruins of the old will be like. There are flashes of that old world, including the words of Free Speech Movement activist Mario Savio, and glimpses of the new. In such a story, making something original, which supersedes the post-apocalyptic meme of metal music immemorial, is no easy task. The quartet sets itself up for a serious undertaking.

The group offers a doom-rooted landscape to the debut, to set off its engrossing fable. With "The Beginning; The End, The Colony" opening up the record, you feel surrounded again by that distended swarm of echoes. You are startled first by the slow build of this song, until it comes seemingly out of nowhere, roiling with the guitars of Matt Norris and Jamie Starke. Waves of power from drummer Raza Khan anchor the first cut over its 13-plus minutes.

However, it is only the beginning. The songs of "Prologue" formulate a humid, thick experience that captures delectably the story of a society in crisis. The vignettes shared in lyrics and the abject weight of the music creep slowly, fearsomely to the collapse you know is coming, but simply cannot halt. By the time "Chainbreaker" arrives, you have a sense the world in Poseidon's hands is in for dark times. Vocalist Matthew Bunkell's understated yet resonant performance here, climaxing to the massive "Omega," puts the stakes to what may be a familiar story. Regardless, the quality of Poseidon's work will keep you transfixed until the inevitable and stormy end.

"Prologue" is available here

Band info: bandcamp || facebook

INTERVIEW: "We never want to stand still in terms of songwriting": Amped & Doomed with Simon Ohlsson (Vokonis)

Vokonis Hailing from Borås, Sweden and formed in 2015 out of the ashes of stoner rock band Creedsman Arise, with a well-received EP ‘Temple’ under their belts, the band became embroiled in a legal dispute over the name. Well what better way to stick it to the lesser ‘Creedsmen’ than with a new album of six psych-tinged bangers? Rising like a phoenix from the flames Vokonis  released their brand new album “The Sunken Djinn” on 9^th June via Ripple Music,  an album that has been met with almost universal acclaim, topping our own Sour 16 chart just last month.  

The Swedish doom trio, consisting of guitarist/vocalist Simon Ohlsson, drummer Emil Larsson and bassist Jonte Johansson, are hewn from the same doomy bedrock as genre titans Sleep, and with Iommi’s influence looming large, their new record is about as strong a rebrand as is possible.

The craft that afforded Vokonis such acclaim on their debut “Olde One Ascending” has been refined and renewed. Whilst being undoubtedly heavy what makes their sophomore effort stand out is the variation employed in the bludgeon. By embracing less traditional doom landscapes ‘The Sunken Djinn’ has allowed Vokonis room to demonstrate the full raft of their audio-weaponry, and in doing so propelled them to the forefront of the heavy underground. 

Today, Amped & Doomed is back and it gives us great pleasure to invite Simon Ohlsson to answer our questions.  You can check out our interview in full below. 



Simon, welcome to The Sludgelord.  Could you give us an insight into how you started playing music, leading up to the formation of Vokonis

I started playing when I was about 15 because I suddenly had this urge to play the guitar. I had just discovered grunge and alternative rock from the 90’s and was immediately smitten by the sound and feel of it. I’m very certain that to this day I am hugely influenced in my writing by Dinosaur Jr. and Nirvana.

Vokonis came about when our previous band, Creedsmen Arise, imploded. The three of us all had Sabbath worship as the main goal with the band. But now we’re trying to incorporate a lot more in the mix than that. We never want to stand still in terms of songwriting.

Can you remember who or what inspired you to pick up the guitar and is there any bands, musicians currently on the scene that continue to inspire you and push you to try new things?

The one guitarist that made me pick it up at the first place is probably J Mascis. I was sitting around in my room and just trying to nail every Dino Jr. solo I could find tabs on. That certainly sparked my interest for everything loud and fuzzy.

Shifting attention to the now there’s a lot of bands doing great stuff right now. The new album by Elder (“Reflections of a Floating World”) have really given me a revelation on how to construct songs with different sounds and soundscapes. Nick is doing a wonderful job of always keeping it interesting with textures and dynamics in his playing. So he’s a major influence on me.

Going in a completely opposite direction, Thomas Jäger of Monolord have been a huge influence for the past years. His no-nonsense sludgehammer approach is something I admire and get inspired by constantly.

Whilst we’re on the subject of inspiration or heroes for example, do you have 5 records that stand out as favourites, what influence did they have upon you and what is it about those record that particular resonates amongst others? 

Elder – “Reflections of a Floating World”. This is a new record but it has had such profound effect on me that I have to list it. It’s pushing the genre forward and I think it’s going to be regarded as a classic in a few years.

Monolord – “Vaenir”. They kinda perfected the Wall of sound bludgeoning doom with this record. Playing as a unit it’s always about the song and what the song needs.

Bad Acid – “Revelations of the Third Eye”. One of my favourite records of last year. It’s got a lot of cool things happening, a very psychedelic rock take on stoner and doom. But never losing its footing or direction. I appreciate when psychedelic music keeps a good flow and they managed that perfectly.

Slomatics – “Future Echo Returns”. Don’t know where to start with this. It’s something that just grabs your attention and doesn’t let go. You can’t just listen to separate songs; you have to listen to the record in its entirety to fully understand these guys vision.

Skraeckoedlan – “Sagor”. When Sagor first released I didn’t really understand it. But returning to it a few years later it have turned into one of my favourite records of all time. The way they took their influences and ran with it is outstanding.

Can remember your first electric guitar?

I think it was a no-name Jagmaster copy. Not quite a Jazzmaster not quite a Jaguar. Wasn’t very good but I loved the shape and feel of it. As previously stated I had a huge thing for Dinosaur Jr and Nirvana, so that’s why I even got it. Sold it many years ago.

I still have my third guitar though, my trusty Fender Jazzmaster that I got as a graduation gift from my family. Last time I used it was recording clean parts for our debut album, “Olde One Ascending”. I consider this my first “true” guitar though, given the bond I have to it.

What guitar (s) are you using today and how did you gravitate towards the guitar you currently use? 

I use a variety of SGs.

For recording I have an old Gibson SG from 88 or 89. It’s supposedly from one of the first years of the 61 reissue. It’s got a thin neck and a warm sound.

I also have a Japanese Gibson knock-off from the late eighties called Burny. These are quite common in Europe I think due to them being as good as Gibson but without the price tag. I used this all over our new album, “The Sunken Djinn”, and live all the time.

For live use I have a Boult “Troglorite” which I love. It’s made of Zebrawood so it looks totally insane. It’s a very sturdy guitar and always manages to turn some heads so I use it live whenever I can.

Also I don’t want to forget telling everyone about my signature guitar over at Boult, “The Djinn”. It’s got the shape of the Yamaha SG but without the backbreaking weight. So that’s a huge honour for me. Will come in silverburst with Zombie Dust pickups that me and Willie (at Zombie Dust) will design together.

What do you like about the guitars you currently use and has there been any specific modifications to it? 

I like the way the SG hangs on the body. They’re very light and easy to play. And they always sound a lot bigger than you’d imagine.

I tend not to do that big of modifications to them, mostly swap pickups or stuff if I become bored of them. I have a set of Lace Dirty Heshers in the Burny SG that is totally face-melting.

What amps and pedals do you currently use?  Do you use a combination of amps, or a full half stack? Talk us through your set up both in the studio and in the live environment? 


For guitars I use two Orange OR100 heads. They just have a big and bold sound that go well with pedals in general. I have either an Orange 4x12 with V30s or an Orange 4x12 with Celestion G12 100 K speakers. We don’t play on big enough stages to warrant a full stack but we’ll see for the future.. For bass Jonte is using an Orange AD200B MKIII head along with an Orange 1x15 cab and my Orange 4x12 with G12 100 K speakers. This is a really menacing combination and gives us a huge low-end but a focused and aggressive mid-range punch.

I have a variety of fuzz-boxes and overdrives but I usually tend to go back to the Pharaoh and Black Forest by Black Arts Toneworks. They have been really supportive of us and have been kind enough to grace me with a custom-pedal. So I’m using that for over the top insane sounds. Jonte is actually using a Pharaoh as well on bass, but I know he’s been using a DOD Boneshaker and a Boss ODB-3 in front just to tighten things up.

Our setup is basically the same for studio and live use. Last time we were in the studio we used an Ampeg 8x10 cab and a Sovtek Mig100 for a huge clean sound along with the dirty Orange tone for bass. Turns out they complement each other in a really nice way.



What one pedal could not live without and why?

That would be the Pharaoh. Best fuzz pedal I’ve ever tried, and I’ve tried a few that have come close. The thing I like about it is that it can leave your EQ intact and deals more with the texture and gain of your sound.

What are your amp/ pedal settings?

Amp is set up just to get some break up. Mid heavy, roll off some bass and up with the treble a bit to get a cutting sound. Then blast with the Pharaoh. It’s got the volume all the way up and the gain all the way down. Think of it as the doom metal version of using a Tubescreamer with a 5150 haha..

I would say Jontes bass amp is setup fairly the same gain-wise but with almost a flat EQ. No matter what you do the AD200B just sounds great on its own. But it’s a great platform for dirt too. He’s very delicate with the way he tunes his pedals.

What tunings do you use and why, and as a result is there a specific brand / gauge of string you prefer?  

We play in C standard and we use D’addario strings. I use a set with 0.13-0.56 with a wound G-string that I like. Sounds fat but it’s tight and doesn’t get too floppy. Don’t know the gauges Jonte is using though.

Do you have any advice for up and coming guitars players, bands?

Practice your instrument, challenge yourself musically as a group and while writing, always think “what’s the best for the song?”

Do feel there are deeply help misconceptions about being in a band? 

I know that when we started out I knew there was going to be a lot of work. But the extent of it, I had no idea. We spend a lot of time rehearsing and writing just to become better as a band. But in the end, with a little luck, people will notice that your hard work pays off.

I mean look at a band such as Conan. Completely D.I.Y approach to everything. They’re a band that has truly forged their own path. I don’t think I know a more hard-working band than them.

Moving on a little then,  what can you tell us about any of your current projects, tours, cds, etc you’re currently promoting, completed and anything else band related we should know about?

That would be our newly released album ‘The Sunken Djinn’ that’s out now through Ripple Music We’ve got a few shows lined up, including a Swedish iteration of Ripple Fest that will be a lot of fun.

 

What springs to mind when you think about the completion of your new record and how is the mood in the camp at present?

Having just released our new record I think we’re in that mode where we can finally breathe after 6 months of holding in a lot of material. For me this record is more of a first record for us than “OOA”. That’s not a knock on our first record in any way; I just view it more of a demo than our first real offering.

And we’re looking forward to bringing this new record to a live setting. There’s some cool parts on there that I want to see how people react to.

What can fans look forward to from you over the next 12 months? How is your schedule shaping up?

Other than appearing on a as of now secret double LP compilation we hope that The Planet of Doom have neared completion. Very anxious to see how it will turn out and how our music will complement the animations. We’re probably going to write another record this fall. But we’ll be a bit more patient with recording it this time. So don’t expect a new LP until around 2019..

Finally, do you have any final comments/word of wisdom you’d like to bestow upon us?

Just something that I try to remind myself of once in a little while, to try and sit back and enjoy the moment when you can. Life moves fast, two years ago I wouldn’t dream of doing the stuff I’m doing with Vokonis.

Thank you for taking the time for us. It’s been a pleasure.

The End

“The Sunken Djinn” is available buy here

 

Band info: Facebook || Bandcamp



RIFF REWIND (18/07/2013): On Pain of Death - "Year Naught Doom"

Formed in the boggiest of the boggy depths of Ireland in March '08, On Pain of Death play slow and twisted doom/sludge metal. The band played their first gig in June '08 and recorded their self-titled first demo over that same weekend and the next in Oaks Recording, Enniskillen, NI.

The band continued to play throughout the Summer and returned to Oaks at the end of September to record their next E...P which features one slab of degrading filth called "Rotting in a Tomb of Depravity". Not happy with the outcome of the recorded EP, OPoD decided to shelf the release with an intention to rework and re-record the track for a future release. A cover version of the Sepultura track “Troops of Doom” was recorded and released on vinyl by Blind date Records in December '09. The release featured bands such as Moloch, Thou, Aguirre, Loss and Hey Colossus all doing doomed out covers.

In the latter half of 2010 early 2011 OPoD recorded their first album entitled "Year Naught Doom". With Handshake Inc. on board "Year Naught Doom" was released as a free download in late 2012 and subsequently released on tape in the summer of 2013 by Dry Cough Records and on LP via Sentinel Records.  Still considered an active band, but yet to release any new material for 5 years, I feel it is time to remind you all just how disgustingly bleak this album was and perhaps reignite the spark within the band to follow up this stunning record. 

Today we are rewinding the riffs back 4 years to the day in order present “Year Naught Doom”. So if you missed it the first time, be sure to remedy your error by checking out our review in full below. 

By: Matt Fitton

Album Type: Full Length

Date Released: 3/7/2013

Label: Dry Cough Records (Tape) |

Sentinel Records (LP)



A mind melting and deeply intoxicating injection of Sludge and Doom, You'll need to watch Disney films for a week straight afterwards just to recover from the whole damned thing. Highly recommended.

“Year Naught Doom” CS//DD track listing:

1). Year Naught Doom (11:28)

2). Tell Your God to Be Ready For Blood (13:14)

3). It Came From the Bog (17:42)

The Review:

Ireland can kick out some noise when it wants to (see: Slomatics), and some of its filthiest noise in recent years has been produced by Sludge / Doom dealers On Pain of Death. Their current opus of depraved sick riffery is 'Year Naught Doom'. It saw a vinyl release at the tail end of 2012, but is being released on tape by the mighty Dry Cough. So let's get into it, shall we?

What you get for your cash here is 3 tracks of complete Doom horror to sink your fangs into, or whatever else you might be sporting. 42 minutes of harrowing sounds to wake the dead, and probably drive the living insane.

First track shares the album title and commences this ritual with suitably slow tendencies. Soaked in atmosphere and the potential for menace, it'd probably burst into flames if it walked into direct sunlight. It rolls on at an ominous pace, heavy as hell and full of feel. The low end that this band has is thick and syrupy, just the way I like it. The riffs are droning and the drumming pounds more like a curse is being banged into existence. If you listened to this enough it might give you an infection of some kind. It's sick, in a beautiful way.

'Tell Your God to Ready For Blood' is even more destructively slow and torturous. You constantly get the feeling that something very bad is about to happen, and when it kicks in even only slightly, the effect will still produce permanent damage in your ears if played too loud. The vocals are hissing and delivered with absolute venom. They'll haunt you. By the end it's so heavy that the cup on my desk nearly went all Jurassic Park.

The album rounds out with nearly 18 minutes of 'It Came From The Bog'. I can only imagine that the 'it' in question is the sound that this band commits to murderous tape. Like the death throes of an ancient being, heard across time and space and recorded in Ireland. It's really good!

Slow, winding and intense, it's an experience that your ears will beg you to cease, and your dark heart will implore you to let continue. The feedback at the end will rupture your arteries.

I seriously advise that you get this latest offering from On Pain of Death however you can. A mind melting and deeply intoxicating injection of Sludge and Doom, weighing in more heavily on the latter. You'll need to watch Disney films for a week straight afterwards just to recover from the whole damned thing. Highly recommend

Band info: Facebook